Robert Henke

Electric Spring 2015

Posted on by 5:4 in Concerts | 2 Comments

i don’t know which felt more strange, being in Huddersfield for a music festival in February (rather than November), or the fact that, somehow, for two decades the university’s Electric Spring festival has entirely passed me by. Better late than never, i suppose, especially as this year’s festival, which took place over five days last week, was celebrating a double anniversary, both the 20 years that Electric Spring has existed as well as the 10 years during which it has been run by composers Monty Adkins and Pierre Alexandre Tremblay (an era which has now ended; in future the festival will be curated by a newly-formed committee).

In addition to various daytime activities—including workshops on sound projection (using Huddersfield’s 48-speaker HISS diffusion system) and live coding (supplemented by a late evening ‘algorave’), as well as an MSP symposium and the ‘Yorkshire wiggle’ modular synthfest—Electric Spring centred on five evening concerts, featuring a headline act and opening with a short work by a different composer. The latter varied considerably in terms of both imagination and execution. Ben PottsCuboid was wilfully obtuse, bookended by bouts of tickling a kind of suspended multiple wobble-board, in between which non-sequitur bursts of shifting bandwidth came and went; it was at least mercifully short. Roberto Gerhard‘s DNA in Reflection (Audiomobile No. 2), composed in 1963, formed the soundtrack to a film by Hans Boye and Anand Sorhabal. This felt problematic in a similar way to some of the film accompaniments by Bernard Parmegiani, insofar as the visuals in no way lived up to the more experimental qualities of the music. Where the film was characterised by symmetry and anecdotal references, full of cycling images with large amounts of repetition, Gerhard’s music, encompassing an extremely wide dynamic range, seemed to follow its own predominately amorphous nose (revealingly, he described it an “aleatoric soundtrack”). The audiovisual combination caused a sharp aesthetic jarring that could only be solved by shutting one’s eyes. β Pictoris b by Olivier Pasquet referred to specifics in its programme note—”an extrasolar planet located approximately 63 light-years away”—but his music could hardly have been more generalised, a study in texture formed from the movement and juxtaposition of a body of timbrally similar particles. This was interesting in and of itself, but how Pasquet’s somewhat psychobabbular description matched his material was mystifying. The highlight of these openers for me was guitarist Diego Castro Magas’ rendition of Aaron Cassidy‘s The Pleats of Matter, completed as far back as 2007 but only now receiving its world première. i’m not sure which aspect was more jaw-dropping, Magas’ performance—involving incredibly fast hand and finger agility, racing up and around the fingerboard, to and from the tremolo bar, while operating two foot-pedals—or the resultant music which, apart from a section toward the end, sounded about as far from guitar music as one could imagine. There was, admittedly, a surfeit of information to grapple with on this first listen, Magas positively ploughing through Cassidy’s layers of simultaneous action (one of the most frantic passages can be seen in the excerpt above), but its soundworld could not have been more urgent and inviting. i can’t wait to hear it again. And again. Read more

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Mixtape #14 : Best Albums of 2009

Posted on by 5:4 in Best of the Year, Mixtapes | 4 Comments


Today marks the 2nd birthday of 5:4, so a big thank you to all of you who are regular readers for your time and interest in this blog. Following yesterday’s run-down of my favourite 40 albums from 2009, here’s the accompanying mixtape, featuring a track from each album. It’s probably the most diverse mixtape yet on 5:4, and lasts a little under four hours. 2010’s going to have to try pretty hard to surpass this remarkable music—enjoy!

Here’s the tracklisting in full: Read more

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Best Albums of 2009

Posted on by 5:4 in Best of the Year | 6 Comments
* Please note this list has how been superseded by the one on the Best Albums of the Years page *

Embarking on another list such as this, i’m reminded again of what i think of as “Paul Morley’s Dictum”; in his superb book Words and Music he writes of the provisional nature of all “best” lists, describing how they could (and perhaps should) change, perhaps quite radically, from day to day. i think he’s absolutely right, and there are many albums released in 2009 that i haven’t heard, so feel free to treat the following as the gospel truth with a pinch of salt. Put it this way, it’s true now, at the end of the year, and that’s perhaps as good as anything else. There really has been a dazzling display of imagination and innovation this year, of which these forty are, in my view, the best. Read more

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